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When we last left our heroes, they had conquered all opponents in the 74th Annual Hunger Games, returned home to their newly refurbished living quarters in District 12, and fallen haplessly to the cannibalism of PTSD. And now we're back! Hitching our wagons once again to laconic Katniss Everdeen and her sweet-natured, just-for-the-camera boyfriend Peeta Mellark as they gear up for a second go at the Capitol's killing fields.
But hold your horses — there's a good hour and a half before we step back into the arena. However, the time spent with Katniss and Peeta before the announcement that they'll be competing again for the ceremonial Quarter Quell does not drag. In fact, it's got some of the film franchise's most interesting commentary about celebrity, reality television, and the media so far, well outweighing the merit of The Hunger Games' satire on the subject matter by having Katniss struggle with her responsibilities as Panem's idol. Does she abide by the command of status quo, delighting in the public's applause for her and keeping them complacently saturated with her smiles and curtsies? Or does Katniss hold three fingers high in opposition to the machine into which she has been thrown? It's a quarrel that the real Jennifer Lawrence would handle with a castigation of the media and a joke about sandwiches, or something... but her stakes are, admittedly, much lower. Harvey Weinstein isn't threatening to kill her secret boyfriend.
Through this chapter, Katniss also grapples with a more personal warfare: her devotion to Gale (despite her inability to commit to the idea of love) and her family, her complicated, moralistic affection for Peeta, her remorse over losing Rue, and her agonizing desire to flee the eye of the public and the Capitol. Oftentimes, Katniss' depression and guilty conscience transcends the bounds of sappy. Her soap opera scenes with a soot-covered Gale really push the limits, saved if only by the undeniable grace and charisma of star Lawrence at every step along the way of this film. So it's sappy, but never too sappy.
In fact, Catching Fire is a masterpiece of pushing limits as far as they'll extend before the point of diminishing returns. Director Francis Lawrence maintains an ambiance that lends to emotional investment but never imposes too much realism as to drip into territories of grit. All of Catching Fire lives in a dreamlike state, a stark contrast to Hunger Games' guttural, grimacing quality that robbed it of the life force Suzanne Collins pumped into her first novel.
Once we get to the thunderdome, our engines are effectively revved for the "fun part." Katniss, Peeta, and their array of allies and enemies traverse a nightmare course that seems perfectly suited for a videogame spin-off. At this point, we've spent just enough time with the secondary characters to grow a bit fond of them — deliberately obnoxious Finnick, jarringly provocative Johanna, offbeat geeks Beedee and Wiress — but not quite enough to dissolve the mystery surrounding any of them or their true intentions (which become more and more enigmatic as the film progresses). We only need adhere to Katniss and Peeta once tossed in the pit of doom that is the 75th Hunger Games arena, but finding real characters in the other tributes makes for a far more fun round of extreme manhunt.
But Catching Fire doesn't vie for anything particularly grand. It entertains and engages, having fun with and anchoring weight to its characters and circumstances, but stays within the expected confines of what a Hunger Games movie can be. It's a good one, but without shooting for succinctly interesting or surprising work with Katniss and her relationships or taking a stab at anything but the obvious in terms of sending up the militant tyrannical autocracy, it never even closes in on the possibility of being a great one.
3.5/5
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Truebies, it's time to face the disturbing fact that there is only one more episode left of this season. As much as it's a downer to picture future dark, dark days absent of True Blood amazingness, we must try our best to put those horrible images aside as we get ready for the upcoming season six finale.
But before we get our blood pumping at the thought of next week's ill-fated, heart-breaking finale, let's go over some of the crazy shenanigans that seized the screen in this week's episode. And thankfully, the minds behind True Blood kept this episode plain and simple, focusing this episode on two main storylines: pairing Terry's heartfelt funeral with the contrasting chaos at vamp-camp. There was not much Warlow chaos and there was no unwanted werewolf/shifter drama. Phew!
First off, let's head on over to Bon Temps where townies gathered to celebrate the life of Terry Belfleur at his funeral.
Remembering TerryWe finally bid farewell to the much-loved Terry Bellfleur with a slew of eulogies that trigger a whole lot of flashbacks. Andy remembers when Terry first returned home from war and hid out at their childhood fort. Sam recalls an especially sentimental moment when Terry declared that "every life matters," even a mere catfish while out fishing. And Lafayette reveals how after he peered into Terry's soul, he became his french-fry, booty-popping mentor.
Right before Arlene shares her eulogy, Sookie jumps in and shares a memory of when she witnessed Terry fall in love with Arlene for the first time. Sook confesses to listening in to Terry's thoughts one evening at Merlott's and hearing his heart racing as he thought how being with Arlene "would make coming out of the woods not so bad." Aw!
And finally, it's Arlene's turn to remember her hubby, which prompts her to recall the day baby Mikey came into the world. In the midst of Arlene fussing about how Mikey's despises her and refuses to breastfeed, Terry comes to the rescue and consoles the now-weeping redhead by telling her how much this family meant to him. Ugh, we're going to miss that fellow.
Warlow Life UpdateAfter last week's episode left Warlow looking not so hot– thanks to Eric who almost drained him to the core–Sookie revives the guy with some of her lovely fairy blood. Phew! P.S. I'm starting to hear wedding bells for these two... Yes, Sookie finally told Warlow she intends to keep her promise and become his fairy-vampire bride!
Bye Bye Vamp-CampEric's hype on Warlow's blood with a mission to save vampire kind from extinction over at vamp-camp. Bill rolls up to vamp-camp ready to save the day and carry out his Lilith-sent mission. But, it's clear Eric's already on the job: not only is the hottie vampire freeing his fellow vampers, but he's also brutally ending every human life in sight at vamp-camp, including Dr. Overlark's… and why yes, he does rip off his penis. And yes, I will never look at a penis the same way, ever, ever again.
And Jason fans, don't fret, Eric not only saves our favorite piece of man-candy from the confines of vamp-camp, but also heals him and clues him in that "he's in for a treat." So, I guess we have some more gay wet dreams from Jason coming up. P.S. Just because Jason's free from vamp-camp, that doesn't mean he's free from Violet. Oh yes! He's still Violet's sexy little human playtoy.
Sarah Newlin is Saved… But Why?!While every doctor/ researcher who tortured away at vamp-camp gets savagely murdred, Sarah Newlin manages to sneak past and expose all our vampires in the white room to the sun. But right as Newlin squeals "Die F*ckers," she realizes that these vampers aren't quite ready to hit the grave for good. Bill has come to the rescue! Rejoice! He's shared a lil bit of his Warlow-ified blood with all his vamper friends. Can I get a hell yeah!?
But fortunately, one vampire can't seem to get a lick of Bill's blood and ends up shredding to pieces in the sunlight. Yes, truebies, we FINALLY get to say goodbye to the one, the only Steve Newlin… but not before he manages to scream out "I love you, Jason Stackhouse". And then I died of laughter for the rest of the episode.
Decked out in a white pantsuit, Sarah Newlin tries to flee from the daywalkin' vamp clan… but the bump-it aficionado can't seem to run fast enough. Jason gets a hold of the crazy chick and claims its his religious duty to kill Sarah. Yet, Jason can't manage to pull the trigger and is lame enough to let her go. I'm sorry, but ARE YOU DUMB? Okay, like I knew Jason was stupid, but who knew this hunk could get himself to this uptime level of dumb-assness. Really, really, stupid decision Jason. I don't think I'll ever forgive you for this one… Then again, if you take your shirt off, maybe I'll take it easy on you.
Reunited and It Feels So Eh After Eric gets ear that the psychiatrist f*cked Pam, he's enraged to say the least. But, I was a tad thankful, because it led to a much-needed bonding moment for Eric and Pam. It seemed that their maker-protege connection rekindled when Eric gushed to Pam how he saved the therapist for her to kill off and she lit up like a full-blown Christmas tree. But, no… their bonding sesh didn't last for long at all. Right as Pam begs Eric not to go AWOL once more, Eric jets right on off. Ugh. Why must you go?!
The End of Billith As We Know ItEveryone's high and happy on Bill's blood, dancing in the sunlight, having a good ole party, and smashing every laced True Blood bottle in sight. But, Bill's not feeling happy-go-lucky like the rest of his vamper pals. Three Lilith sirens appear before Bill sharing that his time on earth is over. Although I'm not a huge Billith fan, that doesn't mean I'm even nearly ready to say peace out to Bill.
But thankfully, James has the nifty plan to feed Bill more Warlowy blood. Aha! That does the trick. So, does this mean we have the real Bill back? As in the Bill we first fell in love with… or is Lilith still controlling the dude? Dun dun dun!
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Soul star Gladys Knight was the toast of the 365 Black Awards in Louisiana on Saturday (06Jul13) as she was honoured for her long-running career and charitable efforts. The singer was feted alongside supermodel Beverly Johnson at the 10th annual ceremony in New Orleans, held to recognise individuals "who are committed to making positive contributions that strengthen the African-American community".
Singers Deborah Cox, Yolanda Adams and Angie Stone stepped onstage at the Mahalia Jackson Theater to perform a tribute to Knight, who took to her Twitter.com page to write, "I'm honored (sic) to be the recipient of McDonald's 365 Award!"
Estelle and Jordin Sparks also sang at the prizegiving, which was organised in conjunction with this year's (13) Essence Music Festival.
The Curious Case of Benjamin Button star Taraji P. Henson hosted the event, which will air in the U.S. on 25 August (13) on the BET network.

Fun Size may be the only production from kid-centric studio Nickelodeon to also feature underage drinking (complete with red solo cups) and boob groping. The murky demographic for the movie ends up hurting the well-intentioned Halloween flick — it's not quite suitable for the young ones nor is it funny or wild enough for the Gossip Girl crowd which director Josh Schwartz (creator of the show) knows well. Instead we get a floundering trick or treat adventure that reduces the colorful twisted holiday to a meandering situational comedy.
Nick TV grad Victoria Justice (Victorious) stars as Wren a high school "geek" who finds herself unable to bag the guy of her dreams (who adores her) but finds a glimmer of hope in the big cool kids' Halloween party. Ready for a night out with her best friend April (Jane Levy) Wren thinks life is finally going her way until her Mom (Chelsea Handler) sticks her with her troublemaking little brother Albert (Jackson Nicoll) for the night. If chaperoning Albert wasn't already the worst thing in the world Wren finds herself in an even bigger dilemma when her brother wanders off into his own night of mischievous debauchery.
The "one crazy night" formula fits perfectly with Halloween but Fun Size struggles to find interesting material for its eclectic ensemble. Unlike many of the young actresses who have previously collaborated with Schwartz Justice seems unable to crack his voice and comedic style. She's too hip to too aware to play someone struggling with high school. The material doesn't serve her or Levy either; off-color jokes and a bizarre sense of entitlement turn them into two people you don't want to see succeed. Luckily for the audience during their sweeping search for Albert Wren and April cross paths with two true nerd-looking boys: Roosevelt (Thomas Mann) and Peng (Osric Chau) who along with feeling like real teenagers actually land a joke or two.
Interwoven into this speedy adventure — Fun Size clocks in at a little over 75 minutes giving little time to flesh out our teenage heroes — is Albert's encounter with a convenience store clerk named Fuzzy. The adults of Fun Size see the ten-year-old Albert as a parter-in-crime rather than a lost little boy. Fuzzy recruits him for a raid on his ex-girlfriend's house; after running away he meets a lady who brings him to a nightclub. At one point a sleazebag kidnaps Albert and locks him in his bedroom. If Fun Size were madcap it may all make sense. Instead things just happen — and it's not hilarious scary or even deranged.
Nick's '90s sitcom Pete &amp; Pete created an amazing sense of weirdness and heart in its exploits of two teenage brothers. Anyone could watch and enjoy it. Fun Size has a beautiful look (the colors of Halloween are mesmerizing) and Schwartz as always has impeccable soundtrack tastes but when it comes to telling a story that feels both relatable and wonderfully weird — what Pete &amp; Pete did so well — the movie falls flat. It's stereotype humor (the movie packs many a fat and gay joke) doesn't cut it — when paired to Nick's best efforts the movie lives up to the title: a bite-size portion of a bigger better cinematic sweet.

David Mitchell's novel Cloud Atlas consists of six stories set in various periods between 1850 and a time far into Earth's post-apocalyptic future. Each segment lives on its own the previous first person account picked up and read by a character in its successor creating connective tissue between each moment in time. The various stories remain intact for Tom Tykwer's (Run Lola Run) Lana Wachowski's and Andy Wachowski's (The Matrix) film adaptation which debuted at the Toronto International Film Festival. The massive change comes from the interweaving of the book's parts into one three-hour saga — a move that elevates the material and transforms Cloud Atlas in to a work of epic proportions.
Don't be turned off by the runtime — Cloud Atlas moves at lightning pace as it cuts back and forth between its various threads: an American notary sailing the Pacific; a budding musician tasked with transcribing the hummings of an accomplished 1930's composer; a '70s-era investigatory journalist who uncovers a nefarious plot tied to the local nuclear power plant; a book publisher in 2012 who goes on the run from gangsters only to be incarcerated in a nursing home; Sonmi~451 a clone in Neo Seoul who takes on the oppressive government that enslaves her; and a primitive human from the future who teams with one of the few remaining technologically-advanced Earthlings in order to survive. Dense but so was the unfamiliar world of The Matrix. Cloud Atlas has more moving parts than the Wachowskis' seminal sci-fi flick but with additional ambition to boot. Every second is a sight to behold.
The members of the directing trio are known for their visual prowess but Cloud Atlas is a movie about juxtaposition. The art of editing is normally a seamless one — unless someone is really into the craft the cutting of a film is rarely a post-viewing talking point — but Cloud Atlas turns the editor into one of the cast members an obvious player who ties the film together with brilliant cross-cutting and overlapping dialogue. Timothy Cavendish the elderly publisher could be musing on his need to escape and the film will wander to the events of Sonmi~451 or the tortured music apprentice Robert Frobisher also feeling the impulse to run. The details of each world seep into one another but the real joy comes from watching each carefully selected scene fall into place. You never feel lost in Cloud Atlas even when Tykwer and the Wachowskis have infused three action sequences — a gritty car chase in the '70s a kinetic chase through Neo Seoul and a foot race through the forests of future millennia — into one extended set piece. This is a unified film with distinct parts echoing the themes of human interconnectivity.
The biggest treat is watching Cloud Atlas' ensemble tackle the diverse array of characters sprinkled into the stories. No film in recent memory has afforded a cast this type of opportunity yet another form of juxtaposition that wows. Within a few seconds Tom Hanks will go from near-neanderthal to British gangster to wily 19th century doctor. Halle Berry Hugh Grant Jim Sturgess Jim Broadbent Ben Whishaw Hugo Weaving and Susan Sarandon play the same game taking on roles of different sexes races and the like. (Weaving as an evil nurse returning to his Priscilla Queen of the Desert cross-dressing roots is mind-blowing.) The cast's dedication to inhabiting their roles on every level helps us quickly understand the worlds. We know it's Halle Berry behind the fair skinned wife of the lunatic composer but she's never playing Halle Berry. Even when the actors are playing variations on themselves they're glowing with the film's overall epic feel. Jim Broadbent's wickedly funny modern segment a Tykwer creation that packs a particularly German sense of humor is on a smaller scale than the rest of the film but the actor never dials it down. Every story character and scene in Cloud Atlas commits to a style. That diversity keeps the swirling maelstrom of a movie in check.
Cloud Atlas poses big questions without losing track of its human element the characters at the heart of each story. A slower moment or two may have helped the Wachowskis' and Tykwer's film to hit a powerful emotional chord but the finished product still proves mainstream movies can ask questions while laying over explosive action scenes. This year there won't be a bigger movie in terms of scope in terms of ideas and in terms of heart than Cloud Atlas.
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With each outing in his evolving filmmaking career actor-turned-director Ben Affleck has amped up the scope. Gone Baby Gone was a character drama woven into a hard-boiled mystery. The Town saw Affleck dabble in action pulling off bank heists many compared to the expertise of Heat. In Argo the director pulls off his most daring effort melding one part caper comedy and two parts edge-of-your-seat political thriller into an exhilarating theatrical experience.
At the height of the Iranian Revolution in 1979 anti-Shah militants stormed the U.S. embassy and captured 52 American hostages. Six managed to escape the raid finding refuge in the Canadian ambassador's home. Within hours the militants began a search for the missing Americans sifting through shredded paperwork for even the smallest bit of evidence. Under pressure by the ticking clock the CIA worked quickly to formulate a plan to covertly rescue the six embassy workers. Despite a lengthy list of possibilities only Tony Mendez (Affleck) had a plan just enticing enough to unsuspecting Iranian officials to work: the CIA would fake a Hollywood movie shoot.
There's nothing in Argo or Affleck's portrayal of Mendez that would tell you the technical operations officer has the imagination to conjure his master plan — Affleck perhaps to differentiate himself from the past plays his character with so much restraint he looks dead in the eyes — but when the Hollywood hijinks swing into full motion so does Argo. Mendez hooks up with Planet of the Apes makeup artist John Chambers (John Goodman) and producer Lester Siegel (Alan Arkin) to convince all of Hollywood that their sci-fi blockbuster "Argo " is readying for production. With enough promotional material concept art and press coverage Mendez and his team can convince the Iranian government they're a legit operation. A location scout in Tehran will be their method of extracting the bunkered down escapees.
Without an interesting lead to draw us in Affleck lets his eclectic ensemble do the heavy lifting. For the most part it works. Argo is basically two movies — Goodman and Arkin lead the Ocean's 11-esque half and Affleck takes the reigns when its time to get the six — another who's who of character actors including Tate Donovan Clea Duvall Scoot McNairy and Rory Cochrane — through the terrifying security of the Iranian airport. Arkin steals the show as a fast talking Hollywood type complete with year-winning catchphrase ("ArGo f**k yourself!) while McNairy adds a little more humanity to the spy mission when his character butts heads with Mendez. The split lessens the impact of each section but the tension in the escape is so high so taut that there's never a moment to check out.
Reality is on Affleck's side his camera floating through crowds of protestors and the streets of Tehran — a warscape where anything can happen. Each angle he chooses heightens the terror which starts to close in on the covert escape as they drift further and further from their homebase. Argo is a complete package with the '70s production design knowing when to play goofy (the fake movie's wild sci-fi designs) and when to remind us that problems took eight more steps to fix then they do today. Alexandre Desplat's score finds balance in haunting melodies and energetic pulses.
Part of Argo's charm is just how unreal the entire operation really was. To see the men and women involved go through with a plan they know could result in death. It's a suspenseful adventure and while there's not much in the way of character to cling to the visceral experience tends to be enough.
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A decade-long gap between sequels could leave a franchise stale but in the case of Men in Black 3 it's the launch pad for an unexpectedly great blockbuster. The kooky antics of Agent J (Will Smith) and Agent K (Tommy Lee Jones) don't stray far from their 1997 and 2002 adventures but without a bombardment of follow-ups to keep the series in mind the wonderfully weird sensibilities of Men in Black feel fresh Smith's natural charisma once again on full display. Barry Sonnenfeld returns for the threequel another space alien romp with a time travel twist — which turns out to be Pandora's Box for the director's deranged imagination.
As time passed in the real world so did it for the timeline in the world of Men in Black. Picking up ten years after MIB 2 J and K are continuing to protect the Earth from alien threats and enforce the law on those who live incognito. While dealing with their own personal issues — K is at his all-time crabbiest for seemingly no reason — the suited duo encounter an old enemy Boris the Animal (Jemaine Clement) a prickly assassin seeking revenge on K who blew his arm off back in the '60s. Their street fight is more of a warning; Boris' real plan is to head back in time to save his arm and kill off K. He's successful prompting J to take his own leap through the time-space continuum — and team up with a younger K (Josh Brolin) to put an end to Boris plans for world domination.
Men in Black 3 is the Will Smith show. Splitting his time between the brick personalities of Jones and Brolin's K Smith struts his stuff with all the fast-talking comedic style that made him a star in yesteryears. In present day he's still the laid back normal guy in a world of oddities — J raises an eyebrow as new head honcho O (Emma Thompson) delivers a eulogy in a screeching alien tongue but coming up with real world explanations for flying saucer crashes comes a little easier. But back in 1969 he's an even bigger fish out water. Surprisingly director Barry Sonnenfeld and writer Etan Cohen dabble in the inherent issues that would spring up if a black gentlemen decked out in a slick suit paraded around New York in the late '60s. A star of Smith's caliber may stray away from that type of racy humor but the hook of Men in Black 3 is the actor's readiness for anything. He turns J's jokey anachronisms into genuine laughs and doesn't mind letting the special effect artists stretch him into an unrecognizable Twizzler for the movie's epic time jump sequence.
Unlike other summer blockbusters Men in Black 3 is light on the action Sonnenfeld utilizing his effects budget and dazzling creature work (by the legendary Rick Baker) to push the comedy forward. J's fight with an oversized extraterrestrial fish won't keep you on the edge of your seat but his slapstick escape and the marine animal's eventual demise are genuinely amusing. Sonnenfeld carries over the twisted sensibilities he displayed in small screen work like Pushing Daisies favoring bizarre banter and elaborating on the kookiness of the alien underworld than battle scenes. MIB3's chase scene is passable but the movie in its prime when Smith is sparring with Brolin and newcomer Michael Stuhlbarg who steals the show as a being capable of seeing the future. His twitchy character keeps Smith and the audience on their toes.
Men in Black 3 digs up nostalgia I wasn't aware I had. Smith's the golden boy of summer and even with modern ingenuity keeping it fresh — Sonnenfeld uses the mandatory 3D to full and fun effect — there's an element to the film that feels plucked from another era. The movie is economical and slight with plenty of lapses in logic that will provoke head scratching on the walk out of the theater but it's also perfectly executed. After ten years of cinematic neutralizing the folks behind Men in Black haven't forgotten what made the first movie work so well. After al these years Smith continues to make the goofy plot wild spectacle and crazed alien antics look good.
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Celebrity pregnancies are a common occurrence among the Hollywood realm, however, 2012 has already seen a plethora of baby bumps and births, and it's only March. So to help everyone get a full look at this year's exceptional baby boom, Hollywood.com has compiled a list of stars who are about to become (or already have become) parents.
First out of the baby gate were Beyoncé and Jay-Z, who officially became parents to baby girl, Blue Ivy Carter, on Jan.7. The superstar couple first announced the pregnancy at the 2011 VMA's after Beyoncé strategically placed her hand on her stomach, while giving a knowing smile. This is the duos first and only child.
Robert Downey Jr. and his wife Susan welcomed a son into the world on Feb. 7 and named him Exton Elias Downey. The baby weighed in at 7 lbs., 5 oz., and was 20 inches long. This was the couple's very first kid together, though Downey also has another son from his previous marriage with Deborah Falconer.
Jennifer Garner and Ben Affleck welcomed their third child and first son on Feb. 27. Affleck posted the exciting news on his Facebook page along with revealing their newborn's name: Samuel Garner Affleck.
James Van Der Beek and his wife Kimberly welcomed a baby boy into the world on March 13. The pair already have a daughter named Olivia, who's 17-months-old, however, they've yet to announce the name they've chosen for their newest little bundle of joy. Feel free to throw out any suggestions.
Charlize Theron shocked the world on March 14 when her rep announced that the actress decided to adopt a healthy baby boy named Jackson. The child was born in the United States and is of African-American decent. And since Theron currently isn't seeing anyone at the moment, she's taking on this new role of motherhood completely solo.
Maggie Gyllenhaal's pregnancy became public knowledge in late November 2011, where she was reportedly already six months along. So, if you do the math, she should be due any day now. This will be the actress's second child with her husband Peter Sarsgaard. The couple already share a five-year-old daughter together, Ramona.
Hilary Duff announced her pregnancy on her official website in August 2011. Later on in October, the actress revealed on The Ellen Show that she and her professional hockey player husband, Mike Comrie, are expecting a baby boy. And though Duff has yet to give birth, she's scheduled to be due in late March or early April, so there's only a few more weeks to go.
Jessica Simpson revealed her baby bump on Halloween 2011, after dressing up as a "mummy" and cradling her stomach. Since then, she's been a pretty open book in regards to her pregnancy and even posed nude for Elle magazine — where she announced that she and fiance Eric Johnson are expecting a girl. Simpson's little girl is due sometime in April, and the baby's name is rumored to be Maxwell (Maxi for short).
Chris Hemsworth's rep confirmed in January 2012 that the actor will become a first-time father sometime this spring, after news broke that his wife Elsa Pataky was pregnant. The couple are extremely excited about the upcoming birth and have opted to be surprised by the child's gender. But whether it's a boy or girl, it's bound to be a good looking baby.
Kourtney Kardashian announced that she was expecting a second child with her boyfriend of five years, Scott Disick, back in November 2011. At the time she was only nine weeks along in her pregnancy, which means she's scheduled to give birth sometime in June. The reality, who already has a two-year-old son named Mason, revealed in February that she'll be having a baby girl.
Alyson Hannigan and her husband of eight years, Alexis Denisof, are currently expecting their second child together. And while the news was officially confirmed by Hannigan's rep back in December, the actual due date is not yet known. She currently has a 2-year-old daughter, Satyana Marie.
After a lot of back and forth baby rumors over the past few months, Snooki finally confirmed that she's fifteen weeks pregnant as of March 2012. The reality star is due sometime over the summer, either in late July or early August, and the father is her longtime boyfriend Jionni LaValle.
Nick Lachey announced on Live! With Kelly on March 5 that his wife Vanessa Minnillo is pregnant with their very first child. The gender and name choice are still unknown, however, Lachey did reveal that the due date is in late summer or early fall.
Real Housewives of Atlanta star Kim Zolciak and her husband Kroy Biermann are also expecting another child later this fall. The reality star shared the news via Twitter on March 20, writing, "@biermann71 and I are happy to announce YES WE ARE PREGNANT!" The couple just welcomed a son Kroy Jagger Jr. in November 2011. Zolciak also has two daughters -- Brielle, 15, and Ariana, 9 -- from a previous relationship.
And last, but certainly not least, news broke on March 21 that Reese Witherspoon is 12 weeks pregnant, which puts her due date in either late August of early September. The actress already has two children with her ex-husband Ryan Phillippe (daughter Ava, 12, and son Deacon, 8), however, this will be her first child with her new hubby Jim Toth.